![]() I have a portable player that plays for hours that runs off a single AA battery, mechanical parts and all.But the feature promises to also benefit those who want to use their wireless headphones with multiple devices at the same time, such as a tablet, phone, and a laptop, streamlining the process of switching between each audio source without having to go through an annoying disconnect/reconnect process each time.īluetooth LE Audio will also make sharing a music stream with others possible. More careful A/B testing through headphones might reveal more weaknesses in ATRAC and any codec has some files that will stress it, but I am impressed with the quality of ATRAC and also with the low complexity. I am somewhat picky, I think "128 kbps MP3 suck" and can prove it. I told my son that I find it hard to listen to 2-channel minidiscs next to really good 5.1 recordings with good bass management, but this weekend I did some heads-up listening testing between 2-channel CDs and minidiscs I made from the CDs and I could not tell the difference on my stereo. Which I am filling up with 5.1 DTS disks that play on my home theater. I had a music technology prof ask me "How do you stand listening to something compressed?" I also have a monster CD changer The ATRAC codec used in Minidisc is similar in bitrate to the QOA although it is transform-based. Lately I have been collecting MiniDisc hardware, one of those things that progresses from "I'll buy a deck from Japan" to seeing a deck at the thrift store and taking it home right away. The file size differences might have been a headache in the CD games era, but by the time DVDs became standard it wouldn't have been a problem. So, yes, something like QOA that you can just drop into any C(++) codebase, as games tend to be, without licensing problems or run-time overhead, would have been really, really useful 20 years ago. (And my NDA expired a long time ago, too.) I imagine it got changed later, when the games were ported to other OSes, but I had left by that point. Re-encoding everything to WMA (guaranteed to be a registered codec) was suggested several times to management, but since they all used Windows Media Player with properly registered codecs, they never really got the severity of the problem, and didn't care that the fix would cost them nothing (the community had already done all the re-encoding work). The games also used DirectAudio or some other horrible mess that relied on registering codecs to the OS, so one of the most common tech support complaints was that the game didn't play any voices (regular SFX were uncompressed WAV), because the user only used media players that bypassed Windows' central codec registry. Egosoft's X series had (has?) just one massive 8+ hour, 128kbps MP3 file with all voice clips in the game, and just seeks to the needed position. That seems a little overcomplicated, but maybe needed at 3 bits per sample? The old table-driven style of ADPCM might be the poor quality the author has in mind, all of these consoles get much better quality at 4 bits, using the same kind of linear predictor (usually with 2 samples of history) with scales per frame as QOA.Įdit: I hadn't read carefully enough, QOA is doing something more complicated by updating the weights rather than using a fixed set of filters chosen per frame (ADX has only one per sample rate, GC DSP uses 8, XA/PS uses 4 or 5). I've usually only encountered 8-bit DPCM on PC, though the 3DO had a version in hardware. In this old list, everything marked ADP, ADX, DSP is using 4-bit (and others are usually just different containers for DSP). Minor quibble but, at least for music, most GC games used a native 4-bit ADPCM ("DSP", decoded by the DSP, or the ADP/DTK format, like CD-XA ADPCM and also handled in hardware), and the most common cross-console audio middleware (CRI) also generally used 4-bit ADX ADPCM. Most GameCube games used their own 8-bit ADPCM format
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